The Carter is open today, from noon to 5 p.m.
This exhibition pairs the sparkling splendor of glass goblets and marvelous mosaics with paintings and prints by the leading 19th-century American artists. Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano brings to life the Venetian glass revival between 1860 and 1915 and the artistic experimentation the city inspired for visiting artists.
Exploring more than 100 years of photographic representations of Black American experiences, Black Every Day: Photographs from the Carter Collection includes over 50 historical and contemporary art photographs and over 100 vernacular images. Works by both iconic artists and unidentified community members showcase the everyday moments of Black life.
Over the summer, Texas–based artist Justin Ginsberg will create a glass sculptural work inspired in part by the Sargent, Whistler, and Venetian Glass exhibition. At a glass kiln on the Museum’s lawn, Ginsberg will pull glass threads then install the threads in the Carter’s Main Gallery, resulting in a large-scale glass “waterfall” sculpture.
Art Making as Life Making offers a glimpse of life in a 1960s print workshop. While at the Tamarind Lithography Workshop in Los Angeles, Akagawa collaborated with many leading artists, printing their lithographs and creating his own. The exhibition features more than 40 works from the Carter’s collection of Tamarind Workshop prints.
Artist Stephanie Syjuco's site-specific, multimedia installation transforms images of renowned works from the Carter’s collection and investigates narratives of national identity. Stephanie Syjuco: Double Vision reconsiders mythologies of the American West and reveals how these works and their presentation within a museum can perpetuate colonial lore.
Darryl Lauster’s Testament, a bronze obelisk, asks the viewer to be a critical reader of information and to look at the function of text in different contexts. Combining pop culture references with quotes from U.S. foundational documents, Testament questions what we know about our nation’s history and promises.
When you enter the Museum, take a moment to marvel at James Surls’ otherworldly sculpture Seven and Seven Flower, a complex portrait of family, land, and self.
Commissioned for the Carter, this large-scale, site-specific installation looks like frozen, Technicolor vapor. Created out of more than 80 miles of multicolored thread, Plexus no. 34 draws attention to the majestic architecture and natural light of the Museum’s Atrium.
The Carter houses one of the great collections of American art, from historical landscapes captured on canvas to city streets seen through the lens of a camera. We’re regularly changing out these works, so each time you visit, you know you’ll encounter something you haven’t seen before.